User:JQGRAY/Zydeco

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Describing the genre[edit]

Overview[edit]

There was a section previously called "musical style", which I changed to "characteristics" in order to standardize with other existing music genre Wikipedia entries. I also began to rework the section in order to more qualitatively describe the aspects of Zydeco that make it an identifiable genre. Finally, I made note of the early Creole musical influences that are at the core of zydeco music. Many of the other genres listed are relatively recent evolutions of zydeco, so it is especially important to acknowledge the older musical forms which were the building blocks and catalysts of modern zydeco.

I replaced this paragraph[edit]

Usually fast-tempo and dominated by the button or piano accordion and a form of a washboard known as a "rub-board", "scrub-board", "wash-board", or frottoir, zydeco music was originally created at house dances, where families and friends gathered for socializing.

As a result, the music integrated waltz, shuffles, two-steps, blues,[1] rock and roll, and other dance music forms of the era. Today, zydeco integrates genres such as R&B, soul, brass band, reggae, hip hop, ska, rock, Afro-Caribbean and other styles, in addition to the traditional forms.

With this one[edit]

Stylistically, zydeco incorporates elements of blues, rock and roll, soul music, R&B, Afro-Carribbean, and early Creole music, and is often played in an uptempo, heavily syncopated manner.[2] Zydeco music is centered around the accordion, which leads the rest of the band, and the washboard, or vest frottoir, as a prominent percussive instrument. Other common instruments in zydeco are the electric guitar, bass, keyboard, and drum set.[3]

Adding mentions of zydeco dance[edit]

There is no section for zydeco dance and I may or may not be able to get around to creating it. There is a dedicated article for the dance form (it needs big work -- it has no references), but the entry for zydeco music lacks any mentions of the dance. I think that there should be a passage devoted to zydeco dance in this article, as it's a huge part of the culture. A zydeco page with no section for zydeco dance is like a salsa music page that doesn't mention salsa dance.

This may be a big task, but I hope to tackle it, or at least get the wheels in motion.

For now, I have only added one thing -- one very small edit -- which simply mentions the existence of zydeco dance, as well as introducing the other uses of the term "zydeco". As far as the greater goal of adding information about the dance, this is just a start.

With all of that said, this sentence does introduce important information about zydeco terminology: that the word does not just refer to the music, but to zydeco parties and zydeco dance as well. One can say they are dancing zydeco, that they are playing zydeco, or that they are going to the zydeco. Zydeco can also be a verb, though I've yet to include this as may not be widely used enough to meet the notability threshold for a mention.

The edit:[edit]

The word "zydeco" can refer to the musical genre, the dance style, or a gathering at which the music is played.

"Word" vs. "Term"[edit]

This is a minor edit, but in the interest of establishing a more encyclopedic tone for the article, it felt important.

I replaced the word "word":[edit]

The origin of the word "zydeco" is uncertain.

With the word "term":[edit]

The origin of the term "zydeco" is uncertain.

Rationale:[edit]

The word "term" is more specific than the word "word". All words are words, but only some words are terms. Terms, words which refer to specific things as well as abstract concepts, are typically used within a certain field and exist within a terminology. It's a hard distinction to pinpoint exactly, but it's definitely there. I felt that to call zydeco a "term" was more accurate and specific than calling it a "word", because, among other reasons, it does not have general usage in the language -- it refers to something specific within a certain field.

Ideas for future edits[edit]

  • Early history
    • This paragraph has many elements that could fit nicely into a "Characteristics" section
    • Remove sentence, or cite: "Today, there are many Cajun and zydeco festivals throughout the US."
    • Combine "early history" and "post-war history", create subcategories?
  • Origin of term
    • The term zydeco is used in reference to the musical style, the dance style, and the social events where the music is present.[4] done.
    • Currently, the za ré go theory is stated as an alternative to les haricots. But these theories are not always presented as mutually exclusive. Perhaps haricots came about as a natural transformation of za ré go into recognizable words for generations who did not know the West African origin language. [5]
  • Change "Musical style" to "Characteristics" done.
    • There should be a more prominent mention of French influence in the lead
    • Rhythm
      • Influence of Juré?
        • Syncopated "Afro-Creole" rhythms [5]
        • Spoons on washboard (Lomax's description of juré on page 45)[5]
    • Instruments
    • Language of vocals and lyrics
  • What about a section about dance?
  • The history section is bloated. What about just turning this into a list of notable zydeco musicians, and paring the history section down to the demographic/geographic stuff, as well as a few of the more notable specifics (i.e. Chenier, frottoir, etc.), rather than going through a massive list of "extremely popular" players and "striking innovators"? (No disrespect intended -- I totally agree with everything written here and think all of these people are incredibly talented and important, but it's not consistent with the Wikipedia tone and it makes the article a bit of a slog to read).
  • Infobox
    • Currently, it lists "Blues, Cajun, Country music, Creole, Jazz, Native American music, Rhythm and blues, Tejano, and Western". Any kind of music, and especially old American music, is going to have the qualities of other genres which came up alongside or before it. Of course zydeco is no exception. So, while one can certainly hear stylings of these genres in zydeco, I'm not sure it's necessary to include the entire list. Second, different artists take inspiration from different sounds. One zydeco player may play in a blues style, while another may play more Cajun, and other more Tejano. So I'd argue that these aren't "stylistic origins" so much as they're stylistic qualities of certain artists. In other words, the confluence of these sounds is not what makes zydeco zydeco, even if these styles come up in the zydeco canon. It would be a bit like the rock music page listing "baroque, heavy metal, doo-wop, and gospel" as origins. Sure, these are all styles that can be found in some rock music, but they're subcategories -- not origins.

Early history[edit]

This section needs work. It's a bit too much history, I think. Maybe it would be well-suited to an article about Creoles specifically, but maybe goes too deep for the purposes of this particular entry.

Also, I felt a little funny about the way it handles the Code Noir. It paints the Code Noir in a somewhat favorable light, which glosses over the fact that slaves and freed African Americans were still subject to cruelty, control, and punishment, not to mention the fact that the Code Noir codified the expulsion of Jews from parts of Europe, as well as implementing stringent rules against black social gatherings and policies that codified slave owners' rights to cut off the ears of fugitive slaves.

There are other things I also specifically noticed that need fixing. I'll come back later with updates.

Early history[edit]

Early Creole musicians playing an accordion and a washboard in front of a store, near Opelousas, Louisiana (1938). Zydeco music originated from Creole music — today's rubboard or frottoir ("rubbing the washboard") is a stylized version of the early washboard.

The original French settlers came to Louisiana in the late 1600s, sent by the Regent of France, Philippe d'Orléans, Duke of Orléans, to help settle the Louisiana Territory. Arriving in New Orleans on seven ships, the settlers quickly moved into the bayous and swamps. There, the French culture permeated those of the Irish, Spanish, Native Indian and German peoples already populating the area.[8]

For 150 years, Louisiana Creoles enjoyed an insular lifestyle, prospering, educating themselves without the government and building their invisible communities under the Code Noir. The French created the Code Noir in 1724 to establish rules for treatment of slaves, as well as restrictions and rights for gens de couleur libres, a growing class of free people of color. They had the right to own land, something few blacks in the American South had at that time.

The disruption of the Louisiana Creole community began when the United States made the Louisiana Purchase and Americans started settling in the state. The new settlers typically recognized only the system of race that prevailed where they came from. When the Civil War ended and the black slaves were freed, Louisiana Creoles often assumed positions of leadership. However, segregationist Democrats in Louisiana classified Creoles with freedmen and by the end of the 19th century had disfranchised most blacks and many poor whites under rules designed to suppress black voting (though federal law said all black men had the vote from 1870). Creoles continued to press for education and advancement while negotiating the new society.

Zydeco's rural beginnings and the prevailing economic conditions at its inception are reflected in the song titles, lyrics, and bluesy vocals. The music arose as a synthesis of traditional Creole music, some Cajun music influences, and African American traditions, including R&B, blues, jazz, and gospel. It was also often just called French music or le musique Creole known as "la-la." Amédé Ardoin, the second musician to record the Creole music of southwest Louisiana and its most influential, made his first recordings in 1929.[9] This Creole music served as a foundation for what later became known as zydeco. Originally performed at house dances in the community, the music eventually expanded into the Catholic Church community centers, as Creoles were mostly Catholic, as well as to rural dance halls and nightclubs.

During World War II with the Great Migration, many French-speaking and Louisiana Creole speaking Créoles from the area around Marksville and Opelousas, Louisiana left a poor and prejudiced state for better economic opportunities in Texas. Even more southern blacks migrated to California, where buildup of defense industries provided good jobs without the restrictions of the segregated South. In California blacks from Louisiana could vote and began to participate in political life. Today, there are many Cajun and zydeco festivals throughout the US.

Post-war history[edit]

This section really needs work, so I'm going to copy the entire thing into this sandbox. It is full of peacock terms and insufficiently-supported claims which ultimately make the section feel bloated and hard to read.

Post-war history[edit]

Chenier Brothers performing at Jay's Lounge and Cockpit, Cankton, Louisiana, Mardi Gras, 1975
A zydeco musician wearing a vest frottoir

Zydeco music pioneer Clifton Chenier, "The King of Zydeco", made zydeco popular on regional radio stations with his bluesy style and keyboard accordion. In the mid-1950s, Chenier's popularity brought zydeco to the fringes of the American mainstream. He signed with Specialty Records, the same label that first recorded Little Richard and Sam Cooke for wide audiences. Chenier, considered the architect of contemporary zydeco,[10][11] became the music's first major star, with early hits like "Les Haricots Sont Pas Salés" ("The Snap Beans Ain't Salty" — a reference to the singer being too poor to afford salt pork to season the beans).

The first zydeco vest frottoir was designed by Clifton Chenier, the "King of Zydeco", in 1946 while he and his brother Cleveland were working at an oil refinery in Port Arthur, Texas. The instrument was created at Chenier's request by Willie Landry, a welder-fabricator who worked at the same refinery. Landry's original frottoir is held in the permanent collection of the Smithsonian Institution.[12]

Tejano music performers of the 1950s-1970s such as Little Joe and Freddie Fender were known for [A] their zydeco roots and inspiration, and they made heavy contributions in the popularization of the style in South Texas and within mainstream country music.[13][14]

A. Known for this by whom? I almost always have a problem with this phrase as it is vague and misleading. This sentence should either be 1) replaced with precise information, or, in the absence of available information, 2) removed.[edit]

In the mid-1980s, Rockin' Sidney brought international attention to zydeco music with his hit tune "My Toot Toot". Clifton Chenier, Rockin' Sidney and Queen Ida all garnered Grammy awards during this pivotal period, opening the door to emerging artists who would continue the traditions. Rockin' Dopsie recorded with Paul Simon and also signed a major label deal during this time.[15][16]

John Delafose was extremely popular[B] regionally. The music made major advances when emerging bands burst exuberantly onto the national scene [C], fusing new sounds and styles with the music. Boozoo Chavis, Roy Carrier, Zydeco Force, Nathan and the Zydeco Cha Chas, the Sam Brothers, Terrance Simien, Chubby Carrier, and many others were breathing new life into the music [C]. Zydeco superstar Buckwheat Zydeco was already well into his career, and also [copy edit this] signed his deal with Island Records in the mid-1980s. Combined with the national popularity of Creole and Cajun food, and the feature film The Big Easy, set in New Orleans, zydeco music had a revival. [citation needed] New artists were cultivated and the music took a more innovative direction and enjoyed increased mainstream popularity.

B. By what standard?[edit]
C. Puffery.[edit]
C. J. Chenier performing in the Ross Bandstand

Young zydeco musicians such as C. J. Chenier (son of Clifton Chenier), Chubby Carrier, Geno Delafose, Terrance Simien, Nathan Williams and others began touring internationally during the 1980s. Beau Jocque was a monumental [C] songwriter and innovator who infused zydeco with powerful beats and bass lines in the 1990s, adding striking [C] production and elements of funk, hip-hop and rap. Young performers like Chris Ardoin, Keith Frank, and Zydeco Force added further by tying the sound to the bass drum rhythm to accentuate or syncopate the backbeat even more. This style is sometimes called "double clutching".[17]

Hundreds of zydeco bands continue the music traditions across the U.S. and in Europe, Japan, the UK and Australia. A precocious 7-year-old zydeco accordionist, Guyland Leday, was featured in an HBO documentary about music and young people.[18]

In 2007, zydeco achieved a separate category in the Grammy awards, the Grammy Award for Best Zydeco or Cajun Music Album category.[19] But in [copy edit this] 2011 the Grammy awards eliminated the category and folded the genre into its new Best Regional Roots Album category.[20]

More recent zydeco artists include Lil' Nate, Leon Chavis, Mo' Mojo and Kenne' Wayne. Torchbearer Andre Thierry has kept the tradition alive on the West Coast. [C]

Leading [C] the world of traditional zydeco today is Dwayne Dopsie (son of Rockin' Dopsie) and his band, the Zydeco Hellraisers.[21] They were nominated for best Regional Roots Album in the 2017 Grammy Award's.[22]

While zydeco is a genre that has become synonymous with the cultural and musical identity of Louisiana and an important part of the musical landscape of the United States, this southern black music tradition has also now achieved much wider appreciation. Because of the migration of the French-speaking blacks and multiracial Creoles, the mixing of Cajun and Creole musicians, and the warm embrace [C] of people from outside these cultures, there are multiple hotbeds of zydeco: Louisiana, Texas, Oregon, California, and Europe as far north as Scandinavia. [citation needed] There are zydeco festivals throughout America and Europe. [citation needed]

Videos just for fun[edit]

I Got Loaded - Keith Frank This song has an excellent opening. Love the accordion line.

Keith Frank at Plaisance Zydeco Festival in 1995 One of the best modern zydeco groups. These guys used to come to Ithaca often so I've seen them through the years. I remember back in the day when his dad performed, and now it's Keith. Really cool to watch each generation come up.

Buckwheat Zydeco - Hey Ma Petit Fille Excellent washboard and accordion soloing here.

Kaleb LeDay This kid's got some super helpful accordion lessons. His playing is also top-notch. Really good example of modern zydeco style that still has the old Creole sound in it.

Links just in case[edit]

References[edit]

  1. ^ zydecoFrench dance melodies with Caribbean music and blues.
  2. ^ Ancelet, Barry Jean (1988). Columbia College Chicago Center for Black Music Research (ed.). "Zydeco/Zarico: Beans, Blues and Beyond". Black Music Research Journal. 8 (1). University of Illinois Press: 33–49. doi:10.2307/779502. JSTOR 779502.
  3. ^ Titon, Jeff Todd (1981). "Zydeco: A Musical Hybrid". The Journal of American Folklore. 94 (373): 403–405. doi:10.2307/540175. ISSN 0021-8715.
  4. ^ Titon, Jeff Todd (1981). "Zydeco: A Musical Hybrid". The Journal of American Folklore. 94 (373): 403–405. doi:10.2307/540175. ISSN 0021-8715.
  5. ^ a b c Ancelet, Barry Jean (1988). "Zydeco/Zarico: Beans, Blues and beyond". Black Music Research Journal. 8 (1): 33–49. doi:10.2307/779502. ISSN 0276-3605.
  6. ^ Laberge, Yves (2007). "Review of Texas Zydeco". The Southwestern Historical Quarterly. 111 (1): 124–125. ISSN 0038-478X.
  7. ^ Albris, Jon; Laurson, Anders (1984). "Zydeco & Cajun". Fontes Artis Musicae. 31 (2): 108–112. ISSN 0015-6191.
  8. ^ Hebert, Tim (1997–2009). "History of the Cajuns - Cajuns in the 18th Century". Acadian-Cajun Genealogy & History. ACADIAN-CAJUN Genealogy & History. Archived from the original on March 5, 2012. Retrieved 4 June 2012.
  9. ^ Tomko, Gene (2020). Encyclopedia of Louisiana Musicians: Jazz, Blues, Cajun, Creole, Zydeco, Swamp Pop, and Gospel. Baton Rouge: Louisiana State University Press. p. 33. ISBN 978-0807169322.
  10. ^ "The Best Of Clifton Chenier: The King of Zydeco & Louisiana Blues". folkways.si.edu. Retrieved 30 September 2021.
  11. ^ Mouton, Todd. "Clifton Chenier's Zydeco Road". 64parishes.org. Retrieved 30 September 2021.
  12. ^ "Frottoir History". Key of Z Rubboards. 2002–2008. Retrieved March 20, 2014.
  13. ^ Steptoe, T. (2015). Houston Bound: Culture and Color in a Jim Crow City. American Crossroads. University of California Press. p. 270. ISBN 978-0-520-28257-5. Retrieved April 12, 2021.
  14. ^ Blues Unlimited. BU Publications Limited. 1984. Retrieved April 12, 2021.
  15. ^ "Paul Simon - Graceland (1986, Vinyl)". www.discogs.com. Retrieved 30 September 2021.
  16. ^ "Rockin' Dopsie". www.blues-sessions.com. Retrieved 30 September 2021.
  17. ^ Tisserand, Michael (1998). The Kingdom of Zydeco. Arcade Publishing. pp. 11–20. ISBN 9781559704182.
  18. ^ "Big Sounds, All but Bursting Out of Small Packages". The New York Times. 7 October 2006. Retrieved 22 March 2018.
  19. ^ "Kanye West Leads 50th GRAMMY Nominees". News. GRAMMY.com, The Official Site of the Grammy Awards. December 6, 2007. Archived from the original on December 27, 2007.
  20. ^ Spera, Keith (April 7, 2011). "Zydeco and Cajun category among those eliminated from Grammy Awards". Nola.com.
  21. ^ "ALBUM PREMIERE: Dwayne Dopsie Infuses Zydeco Sounds with Soulful Swampy Blues on 'Set Me Free'". glidemagazine.com. Retrieved 26 September 2021.
  22. ^ "Winners & Nominees". GRAMMY.com. Retrieved 26 September 2021.

The Kingdom of Zydeco

South to Louisiana: The Music of the Cajun Bayous

Creoles of Color of the Gulf South

Ancelet, Barry Jean. “Zydeco/Zarico: Beans, Blues and Beyond.” Black Music Research Journal, vol. 8, no. 1, University of Illinois Press, 1988, pp. 33–49, https://doi.org/10.2307/779502.

Laberge, Yves. The Southwestern Historical Quarterly, vol. 111, no. 1, Texas State Historical Association, 2007, pp. 124–25, http://www.jstor.org/stable/40495714.

Titon, Jeff Todd. “Zydeco: A Musical Hybrid.” The Journal of American Folklore, vol. 94, no. 373, [University of Illinois Press, American Folklore Society], 1981, pp. 403–05, https://doi.org/10.2307/540175.

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